Guy Laramee

Biography

GUY LARAMÉE
Biography

Guy Laramée is an interdisciplinary artist who, in the course of his 30 years of practice, found his way through such varied and numerous disciplines as : stage writing, stage directing, contemporary music writing, musical instrument design and building, singing, video, scenography, sculpture, installation, painting and literature. He received more than 30 grants and was awarded by the Canada Council for the Arts the Joseph S. Stauffer award for musical composition. His work has been seen and heard in Canada, United States, Belgium, France, Germany, Switzerland, Japan and Latin America.
From 84 to 88, he worked as a composer for contemporary dance (Daniel Soulière and Danse Cité, Carol Ip, Suzanne Lavoie, Andrew Harwood). Since 88 he worked as a composer and sound scenography designer for theater (Larry Tremblay, 87-88; Robert Lepage, 92-93; Jean-Frédérique Messier, 93-95; Volker Hesse, Switzerland, 93); Lou Simard, Germany, 94; Claire Gignac and La Nef , 95-2004; Rachel Rosenthal, USA, 99-000. His research on non-tempered tunings and multiple layer polyrhythms had him founding TUYO in 87, an ensemble palying microtonal and gestural musicon invented instruments ; he directed this ensemble until 91.
Since 86, he is the author of several interdisciplinary works (Les Éléphants sont venus mourir ici, 86; Théorie du Désert 91; Marche de Nuit 94-96, BIBLIOS 2005-6) and co-author of multidisciplinary works (URNOS, 2004 ; Ici et là, 2004). He has been scriptwriter and director of short films (Marche de Nuit, with Henri-Louis Chalem, 96; CrystalKey Bee, 97). From 94 to 98, he has been the artistic director of PluraMuses, a company devoted to the production of multi-disciplinary works and involved in the Meduse cooperative in Quebec City. He initiated and coordinated « L’espace traversé », a pan Canadian conference on interdisciplinary practices in art (See the bilingual book published by Le Sabord : L’Espace traversé).
In parallel with his artistic practice, he pursues an investigation in the field of anthropology. His fieldwork includes : ethnomusicography of the Fetiche ritual in Togo (86), Oracular imagination among the healer of the Peruvian Amazon (93-95), Concepts of creativity and imagination among contemporary artists (MA thesis : 2002). The ethnographic imaginaire is a strong marker of his artistic work.
Although his work had already been seen within museum and galleries (Marche de Nuit hosted by the Montreal Contemporary Art Museum, 94; « Quelle belle journée pour mourir ! », Méduse 1997), his appearance in the context of gallery exhibits is relatively new (2004). However, at the end of 2011 his log sheet will already include some 15 solos and more than 20 collective shows, half of which abroad .

Where to find Guy Laramee online


Books

This member has not published any books.

Smashwords book reviews by Guy Laramee

  • Creating Consciousness on Feb. 03, 2011

    If Albert Low’s book looks sometimes like a ‘Theory of Everything’, in my opinion it is because as in the case of phenomenology from the moment one decides to study consciousness in its own terms, one has to bring every thing into it, instead of sprinkling it over things as we do usually. Highlights of Low’s model : -Low’s model is truly anthropological, in the sense that it tries to give sense to the whole of Man. - His model bridges the gap between Eastern and Western epistemologies, at least on the level of language, which makes it all the more anthropological. - It is a model that is all-inclusive, in the sense that it accounts for itself as myth. It is a story that explains the role of stories in the constitution of the real. - Low makes the distinction as Nisargadatta between Awareness and Consciousness. Consciousness is reflective, awareness is not necessarily. - Low’s model reconciles non-teleological science (Darwinism) with teleological religion, through an ‘empty teleology’. It therefore explains ‘evolution’ as a gradual layering of consciousness, and allows for a dissociation of the notions of ‘progress’ and ‘evolution’ through the notion of ‘involution’. - The model places creativity at the center of a teleological, ‘involutionary’ model. - In this model creativity is necessary and inevitable, not contingent. - In this model creativity is a property of the universe, not of the individual. - The tension center-periphery – as an inherent characteristic of consciousness - is a useful model to understand the obsession of creators (the restlessness, the hunger for always more creations); furthermore, when put in correlation with the secularization of modern societies (religion no longer being able to do the management of this tension), this tension could account for the creative hunger of modern times. It links with Weber saying that art and erotic replaced religion. - This model also allows for a unification of religion, art and intellectual knowledge. - The model allows for a unification (that is not a reduction) of the phenomena of Satori, Kensho, and Eureka, by situating them outside culture, without putting them into ‘nature’.